Chinatown Nights (1929)
Joan Fry, a society woman, falls in love with Chuck Riley, the white-leader of a powerful gang in Chinatown, and he quickly drags her down into the depths with him. But seeing her so much in love with him causes him to realize he isl in love with her, and he determines to lift her up again. "Boston" Charley, the rival gang-leader, has other plans.
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Don't listen to the negative reviews
It's fun, it's light, [but] it has a hard time when its tries to get heavy.
It's entirely possible that sending the audience out feeling lousy was intentional
it is finally so absorbing because it plays like a lyrical road odyssey that’s also a detective story.
It came as a most agreeable surprise to discover (a) that the film is 100% talking; (b) that it has an engrossing, action-full, well-characterized story to tell; (c) that the acting – with the possible exception of Jack Oakie's turns (which are too small to worry about anyway) as a stuttering newsman – is thoroughly convincing from all concerned, particularly from Wallace Beery (who has a romantic role, would you believe, and handles it well!), Florence Vidor (seamlessly dubbed by Nella Walker), and Warner Oland; (d) that the fast-moving, atmospheric direction and photography are well up to the highest Wellman standards. Indeed, here is an unsung film noir that belongs in all the reference books and deserves a place in every noir fan's DVD library.
Filming of Chinatown Nights as a silent was one-third completed when production was stopped to adapt it to sound. Four days later, dialogue had been written and filming resumed. In the Movietone version that survives, the retained silent sequences sometimes jarringly remind the viewer that the silent cinema was a totally different art form. Over-emoted scenes are dubbed and the result is risable. Indeed, Florence Vidor quit the talkies immediately upon the completion of principle photography and her dubbing is handled by an actress who manages to inject a tremmello into every syllable. However, when the new footage takes over, the film paces itself well. The love story plays true and the Chinese Theatre set piece is rousing. Wellman keeps the camera moving. If you enjoy seeing the birth of a new art form, then you might not mind the man with the megaphone's sloppy looping. His voice will still bark even when the cone goes to his side. And did I mention Warner Oland plays an evil Oriental? Recommended.